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MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Chicago Film Critics Association Awards 2013

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cFor 20 years, since 1993, I’ve taken part in the voting, and sometimes the awards shows, for The Chicago Film Critics Association — and I’ll be there again for the 2013 Awards.

The show, in the 1990s and  the years before I emigrated to Chicago from Los Angeles, used to be elaborate and star-studded, Then it went into a kind of limbo for a while; Now, in the last two years,  there’s been a campaign by the CFCA to make their awards celebration it a gala affair once more. If you’re in Chicago or thereabouts, you’ll have a chance to see it. (A graphic with information  is below.) Our list of 2012 winners — which interestingly doesn’t mention  Oscar favorite Argo — is below too.

 

CHICAGO FILM CRITICS ASSOCIATION AWARDS FRO 1012

BEST PICTURE

 Zero Dark Thirty

BEST ACTOR

 Daniel Day-Lewis ( Lincoln) 

 

BEST ACTRESS

 Jessica Chastain (Zero Dark Thirty) 

 

BEST SUPPORTING ACTOR

Philip Seymour Hoffman (The Master) 

 

BEST SUPPORTING ACTRESS

 Amy Adams  (The Master) 

BEST FOREIGN LANGUAGE PICTURE

Amour  

BEST DIRECTOR

Kathryn Bigelow (Zero Dark Thirty)

BEST ADAPTED SCREENPLAY

 Lincoln (Tony Kushner)

BEST ORIGINAL SCREENPLAY

Zero Dark Thirty (Mark Boam)

BEST CINEMATOGRAPHY

The Master  (Mihai Malaimare, Jr. )

BEST EDITING

Zero Dark Thirty (William Goldenberg & Dylan Tichenor)

BEST ART DIRECTION/PRODUCTION DESIGN

Moorise Kingdom (Gerald Sullivan and Adam Stockhausen)

BEST ORIGINAL SCORE

The Master (Jonny Greenwood)

BEST NONFICTION FILM

The Invisible War

BEST ANIMATED FEATURE

ParaNorman

 MOST PROMISING NEWCOMER

Quvenzhane Wallis (Beasts of the Southern Wild

MOST PROMISING FILMMAKER

Benh Zeitlin (Beasts of the Southern Wild)

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Here’s the ad and info on this year’s CFCA Awards Show. I hope you can make it.

 

THIS IS YOUR CHANCE to join “Glee” star Jane Lynch and The Chicago Film Critics Association at the CFCA’s 2013 Awards show! Don’t miss your chance to be part of Chicago’s own red carpet with the stars this Saturday!
If you can’t see the image below, view this premiere event directly online.HollywoodChicago.com Hookup for 2013 CFCA Awards

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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